Dairy Arts Center

VISUAL ARTS

FOREIGN BORN
In conjunction with Mo'Print, featuring 8 female artists who were born abroad.

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An investigation of the female perspective on immigration.

[Hand-Rudy] Taiko Chandler
[MacMillan] Taiko Chandler
[Polly Addison] Erin Hyunhee Kang
[McMahon] Danqi Cai, Roberta Restaino, Eriko Tsogo, Shark’s Ink (Dianna Frid, Ana Maria Hernando, Hung Liu)

Curatorial statement: 

Foreign Born explores the unique perspectives of female immigrants from Asia, South America and Europe. Individually, each artist charted a unique path to citizenship, while collectively that path ultimately inspired a desire for artistic expression. By referencing birth, femininity, and cultural identity, their unique perspectives form a singular message around the significance of immigration and the power of the female viewpoint.

Aligned with Mo’Print, a celebration of printmaking created “to inspire, educate, and promote awareness throughout Colorado” (Mo’Print Home Page, 2020), this exhibition predominantly features printmaking in the form of lithographs, monoprints, and etchings, but also includes drawings and paintings for a diverse range of represented media.

It is within the creation of ‘prints’ that we observe intrinsic personal narratives. From artists that directly reference their home country, artists depicting figures of another time and location, or artists that abstractly depict their connection to a new environment, Foreign Born delivers a diverse collection of work from artists creating personal objects in a once unfamiliar locale: the United States of America. 

Taiko Chandler

MacMILLAN FAMILY LOBBY

Interplay

 Printmaking is my primary professional art medium where I am driven to develop my own vocabulary. I am drawn, in particular, to its unpredictability. I compose my work instinctively; combining shapes, colors, lines, and textures in order to express my imagination and react to the environment around me. The process is, therefore, both deliberate and iterative. I am constantly improvising with no fixed destination in my mind. As I work, the evolution of the work stretches the starting point – it is the open nature of the process that is constantly creating new possibilities. In addition to printmaking, I am interested in three dimensional work. Here, I am particularly drawn to site specific installation art that is, by definition, inspired by the space and immediate surroundings. I am fascinated by the dynamism of 3D art that allows for a more intimate interaction with those who come to view the work. Also, I love the transient nature of installations, which last for the length of a show and are then dismantled. When (and if) they are assembled again, the pieces always come together to create something new that is, in turn, inspired by its own particular space. For these installations, my selection of materials (e.g., Tyvek, fabric, paper fasteners, etc) reflect my interest in using simple materials that I can manipulate and, therefore, transform. With my Tyvek installations, I draw on the positive space by shaping the material, but seek to emphasize the negative space by cutting the non-printed areas. I am constantly fascinated by the power of this work to redefine the spaces in which they appear.

INSTAGRAM     WEBSITE

Denver, CO (since 2011): 

We moved to Denver in June and I took my first professional art class in the Fall of 2011. It was a printmaking (monotype) class. Moving to Denver was different again because my husband had a job and, eventually, his green card, which allowed me to get my green card/SSN. This financial stability helped us do many more things. It was exciting, but also it was too much choice in some ways – I did not know where to begin. Late in the summer, we stopped by the Art Students League of Denver to see if they had any art classes I would be interested in. Without any particular reason, I thought it would be interesting to learn abstract painting, but there was a waiting list, so I signed up for a printmaking class, instead. It took me a while to feel confident, but I increasingly began to enjoy what I was able to make. I think this period, particularly 2012-2013, was the time I focused on learning various printmaking methods and techniques. Though Denver is bigger than Nagano (where I lived and grew-up in Japan), the nature and beautiful mountains and rivers remind me of my hometown. That is why I think these influences were strong in my early prints.

Miami, FL (2002-2005): 

Moving from Japan to Miami was a great culture shock for me (the income and wealth gap, traffic chaos, beautiful nature, rich Latin culture, and so on). It was all so different from Japan. Also, going back to student life again after working professionally as a nurse in Japan for many years, was difficult (financially, socially, my legal status unable to work, etc.). 

Without having much money, nor having a car or cellphone, it was a challenge to do the things I wanted or needed to do, but it was also a great learning experience of having to adapt to this new life. One outcome of this was that I began making things by hand from scratch – cooking, hand sewing, making jewelry, etc. 

Spending time with the immigrant friends I made and fellow students in my English (most were from Central and South America) and Spanish classes, and the friends we made in Miami was one of the big parts of my life and, gradually, I think this is when I began to think more about my identity and ethnicity. 

Austin, TX (2005-2011): 

After moving to Austin, I kept studying Spanish for about a year, then did some volunteer work (first, at a center for legally blind people, then at a city-owned/run art & craft center). During that time, I met an 87-year old Texan woman and we became good friends and she taught me a lot about sewing. As well as sewing, I enjoyed cooking together with her and also listening to her stories (particularly about WWII and the time she spent in Japan). Beside doing volunteer work, I enjoyed walking outside, regularly going to thrift shops and estate sales, antique shops and fairs, and later photography with my first DSL camera. I also bought my first sewing machine and began sewing more, upcyling clothes or furniture for myself or to make our apartment space unique from used/old things. Scavenging was fun and I was able to learn about the history and society of America through the things people used to own and treasure.

Hand/Rudy Gallery

Erin Kang

POLLY ADDISON

Sanctuary

My interests arise from the subtle connections and boundaries between different phases of my life. I translate these delicate boundaries of subconscious into surreal landscapes using various representations of water. Not only do these landscapes result in both serene and catastrophic outcomes, but also what is manipulating and manipulated becomes obscured. By exploring these unpredictable results, I hope to find clarification and acceptance from the past.

INSTAGRAM     WEBSITE

Erin Kang’s current body of work, on view, is part of a year long project as a resident artist in The Boulder Creative Collective’s Pilot Program for the 2019/2020 year. The Boulder Creative Collective (The BCC) seeks to bring together, support, and cultivate the diverse artistic energies of the Boulder community by offering artist residencies, gallery, and event space; representation, career development and networking opportunities; workshops and classes to artists and the public; and provocative, stimulating experiences to all. The Boulder Creative Collective is a nonprofit space and collective where artists and the greater community can engage through its founding principles; Create, Connect, Exchange, Collect.

McMahon Gallery

ANA MARIA HERNANDO, DIANNA FRID, HUNG LIU, ROBERTA RESTAINO, ERIKO TSOGO, DANQI CAI

This Exhibition Contains Graphic Content: Please view at your own discretion 

ANA MARIA HERNANDO

Shark’s Ink Collection: Night Flower I & II 

The two prints, “Night Flowers I & II” are related to my latest body of work, where I have been exploring the night, looking for light in the darkness, and looking for darkness in all. In the night the ends an the beginnings are one, everything melts into the obscure, and it all becomes and intimate immensity. The outside becomes the inside, and the inside becomes the outside. What is far and open embraces us, pulls us closer. In the night the moon and the stars bathe us in their white fire, caressing us softly, revealing the nocturnal voices, transforming our orange song.

Shark’s Ink Collection: Somos Aire (We Are Air) 

I have been painting enormous flowers, flowers that cannot be contained by the paper. Somos Nube (We are Cloud) [not on display] and Somos Aire (We are Air) profess a grand beauty I am seeing everywhere. The persistent feminine force cannot be denied any longer. Why are we so afraid of the presence of the feminine? It is unstoppable. Flowers, in their quiet but urgent power, are our most trustworthy prophets. 

Works Courtesy of Shark’s Ink

INSTAGRAM     WEBSITE

DIANNA FRID

Shark’s Ink Collection: Sieve 

High contrast photographs of sieve-like objects are the inception of this series. Each print is a particular response to a fragment of a photographic image. Although each work seems to be abstract, it is only partially so since it includes both the cropped index of an object in the world, and a simultaneous nonrepresentational rejoinder to it. The rejoinder embodies an ongoing dialogue with Bud Shark. As collaborators, we figure out what to make by figuring out how to make it. The Sieve series pivots around the concept of process as a way through an aesthetic possibility-something that did not exist before we started. We invent the problem so that we may play with and open it up. Our work together is not concerned with merely finding solutions, but with ways of seeing that arise through making. 

Shark’s Ink Collection: On the Modification of Clouds (after L.H.) 

L.H. refers to Luke Howard who was the scientist who first classified the clouds in 1802. The Latin names in his nomenclatures (Cirrus, Cumulus, Nimbus, etc.) are still the names we use today. His research was published in a report titled, “On the Modification of Clouds,” and I appreciatively borrowed it for the titling of these lithographs. Atmospheric conditions and elevations set the conditions for one type of cloud to the potentially morph into another type. The attitudes of shifts and modificationsas indicated by the title of the suitewas one of the operating principles in making the lithographs at Shark’s Ink.

Works Courtesy of Shark’s Ink

INSTAGRAM     WEBSITE

HUNG LIU

Shark’s Ink Collection: Official Portraits 

Shark’s Ink is proud to present a suite of three lithographs with collage by Hung Liu. In the past Liu has used anonymous historical photographs as the subject matter of her prints and paintings. In the suite she present three self-portraits, each denoting an important period of her life. “Proletarian” shows a young Liu at the time of the Cultural Revolution, working in the countryside. “Immigrant” is based on a photograph from the time of her immigration to the US. “Citizen” is a recent self-portrait as a confident and mature woman of the world. She embellishes the images with lovely drawings of plants, flowers, birds, rats (her Chinese zodiac sign) and painterly drips and circles. Collaged on each print are representations of the ID cards, permits and ration coupons that have documented her “official” status associated with these portraits.

Shark’s Ink Collection: The Last Dynasty 

Hung Liu’s lithographs, The Last Dynasty: Countess and The Last Dynasty: Empress, continue the exploration of the history of her homeland through found anonymous photographs. Using black and white images from the Qing Dynasty, Liu has re-drawn the images with painterly washes and colors. Liu describes her approach to the found images, “…between dissolving and preserving is the rich middle-ground where the meaning of an image is found…My prints are metaphors for memory and history…”

Works Courtesy of Shark’s Ink

INSTAGRAM     WEBSITE

Roberta Restaino

Interchangeable Camouflage 

Interchangeable Camouflage is a personal inquiry of my identity as an immigrant from Italy living in the USA. The second body of work is How Far We Are? It is a question thinking about how new technologies -alien elements- interfere and interconnect with our life. It relates to my personal story to feel foreign to this land. I really understood what it was to be Italian when I moved to America. I have experienced the cross cultures through mature eyes that are always seeking answers through logical connections. I became more aware of words and their meanings and witnessed how cultures overlap. It is quite exciting and scary at the same time, but interesting for sure. The more time I spend outside my familiar environment, the more I recall old memories that I reveal in my work. Rome influences, informs, and translates into my work as textures, layers, patterns, and marks accumulating through history, left by time over time. Underneath Rome and its surroundings, where I grew up, there is an infinite amount of ruins to reveal. It aligns perfectly with my obsession with scientific discovery and a sense of wonder that leads me to my process of making. In my daily experience, I constantly stop to decipher words and their meanings to express myself in a different language. Inevitably, in every daily conversation, I experience this because I have a trademark that is my accent. Suddenly, when people notice it and tell you, it brings you into a question of belonging. That is the scared part that I mentioned above, wherein these moments, you feel a sense of detachment from both cultures, the one that I am embracing as a foreigner and my own; moments where you do not know where you belong anymore. When I go back to my country, I experience what I call “reverse culture shock” that is a feeling of disconnection with your own environment and people. I think it happens to anyone who lives far away from their own country for a long time. Interchangeable Camouflage comes from the idea that we move, change, reshaping ourselves, always in search of something. I like the idea that even though this piece has multiples of the same matrix, it will never be the same when installed on another wall. It will change, interchange within itself, to represent a new me in another stage of growth and awareness.

INSTAGRAM     WEBSITE

Eriko Tsogo

WRONG WOMEN, Myths from the Sky 

WRONG WOMEN, Myths from Sky series chronicles the metaphysical pilgrimage of the marginal heroine as they travel through the kaleidoscopic labyrinth of time, space and nature. On journey, they must learn to navigate and overcome perpetual opposition and adversity, worldly obstacles exemplified through various conceptualized physical bodily trials, in order to find themselves. The artworks act as part biographical exposé, addressing the universal struggles and inner spectrum of the non-binary identity. Wrong Women seeks to help transform the viewer through the power of empathy, inspiration, and empowerment.

WEBSITE

Danqi Cai

She Loves Control: Prints and Reproductive Autonomy 

She Loves Control: Prints and Reproductive Autonomy is a group of lithographs responding to China’s changing population control policies and their effects on women. Borne out of China’s one-child policy and its deep-rooted gender inequality, my family history fueled my obsession with the question of reproduction. My father had always wanted a son, so eleven years ago my mother agreed to adopt a baby boy, only for my father to leave us shortly thereafter. A teenager at the time, I struggled to understand my father’s desire for a son, his subsequent abandonment of us, and my mother’s unquestioning commitment to child-rearing. A woman’s life seems to be valued differently depending on what stage it is in. Both social commentary and self-portrait, my prints reflect on this observation using, for example, both my adult body and my one-year-old portrait in AHHHH. One Hundred (Would Be) Daughters, for instance, comments on the gender imbalance in China and explores the irony of people not wanting daughters yet desperately needing mothers for the next generation. The connection between printmaking and biological reproduction is also central to this project, with the printing matrix (the Latin word for “womb”) as the metaphorical womb. Moreover, Mandarin Chinese makes no distinction between “biological reproduction” and “mechanical reproduction.” Biologically, our lives begin through the replication of cells, just as a generative matrix begets multiplicity. Likewise, the printmaking practice of layering results in “sibling” prints that share a parent matrix, and yet each contains distinct mutations.

INSTAGRAM     WEBSITE

Opening Reception

Photos courtesy of Lauren M. Click

Artist Bios

MACMILLIAN | HAND/RUDY

Taiko Chandler lives and works in Denver, Colorado. She was born and raised in Nagano, Japan and was originally trained as a nurse. After taking a printmaking workshop at the Art Students League of Denver in 2011, she found herself in art. Today, Taiko works primarily in printmaking and, more recently, site-specific installation art. Taiko’s work has been exhibited in Colorado, and many other states, as well as numerous print fairs throughout the U.S. Her work is in private and public collections in the U.S. and Japan, including the Cleveland Clinic Art Program, the University of Colorado Business School, and the Denver Art Museum (Education Collection).

 

POLLY ADDISON
 
Erin Kang is a painter, a graphic designer and an illustrator based in Boulder, Colorado. Born and raised in Seoul, Korea, Erin moved to the states at age of fifteen. She graduated from Rhode Island School of Design with a bachelor’s degree in Fine Art. During her years at RISD, she was selected as a member of European Honors Program to study abroad in Rome, and as an interchange student to continue her fine art studies at Seoul National University in Korea.
 
After finishing her school, Erin worked for New Yorker Magazine at Condé Nast as a photograph assistant. Then she moved on to Tapehouse Toons as a member of visual effects team creating The X-Presidents series for Saturday Night Live TV Funhouse, and Disney’s Lizzie McGuire series. Even though she had amazing experiences working at fun and fast-paced industries of weekly magazine and broadcast, Erin wanted to focus more on long term narrative design formats. She landed her dream job as a book jacket designer at one of the most respected publishing companies, Penguin Group USA (PGI). She created multiple book covers for award-winning writers for some of the most prestigious imprints in book publishing. After many exciting years at PGI, Erin left NYC and settled in Boulder, CO with her growing family.
 
Currently, Erin works as a freelance designer for Penguin Random House. She is also actively developing her personal body of fine art works as one of seven artists in the Boulder Creative Collective artist-in-residence program where she works with collaged images as preliminary sketches for larger body of paintings.
 
 
MCMAHON GALLERY
 
Ana María Hernando, from Argentina and based in Colorado for the last twenty-three years, is a multidisciplinary artist, with a passion for calling forward lightness in us. She is interested in empathy, in making the invisible visible, and in the transformative, compassionate conversation of the universe. She considers the balance between the material and the transcendent, devotedly exploring the sacred feminine through women’s rich histories, their daily lives and relationship to hand-worked textiles and wares. In her installations, Ana includes the work of women from around Latin America, from embroideries of cloistered nuns in Buenos Aires, to the weavings and wares of Peruvian women from the mountains.
 
She has studied at the Profesorado S. Ch. de Eccleston and the Escuela Nacional de Bellas Artes P. Pueyrredón in Buenos Aires, Argentina, at the Museum School in Boston, MA and CCA in Oakland, CA. Solo shows include the MCA Denver, the Tweed Museum of Art, Kemper Museum of Contemporary Art, Bmoca in Boulder, CO, the International Center of Bethlehem, Oklahoma and Marfa Contemporary, Denver Botanic Gardens, and CU Art Museum. She has done temporary public art for the City of Boulder and ReCall for Redline at the Land Library, in collaboration with poet and musician Kenneth Robinson. She is also a poet and translator, and has performed with Robinson their poetry in English and Spanish. Ana María has printed through the years with master printmaker Bud Shark of Shark’s Ink in Lyons, CO, completing the last pair of lithographs in March of 2019. Ana María has just finished a temporary billboard for Downtown Denver. She has received the Prix Henry Clews 2020 from La Napoule Art Foundation, and will spend next year working and putting together a major solo show at the foundation’s gardens in France.
 
 
Dianna Frid is an artist working at the intersection of material texts and textile. Her artist’s books and mixed-media works make visible the material manifestations of language. In her work, embroidery is a prominent vehicle for exploring the relationships between writing and drawing; and between transcription and legibility.
 
Frid was born in Mexico where she was first exposed to textiles as complex codes of material writing. This point of reference helps her situate her work alongside lineages that embrace longstanding connections between art and needlework, and between idea and substance.
 
Her process is slow; it is a portal for contemplating themes of time, death, and the transformation of matter.
 
 
Hung Liu was born in Changchun, China in 1948, growing up under the Maoist regime. Initially trained in the Socialist Realist style, Liu studied mural painting as a graduate student at the Central Academy of Fine Art in Beijing, before immigrating to the US in 1984 to attend the University of California, San Diego, where she studied under Allan Kaprow, the American originator of Happenings. 
 
Known for paintings based on historical Chinese photographs, Hung Liu’s subjects over the years have been prostitutes, refugees, street performers, soldiers, laborers, and prisoners, among others. As a painter, Liu challenges the documentary authority of historical Chinese photographs by subjecting them to the more reflective process of painting. Much of the meaning of Liu’s painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed – but often concealed – in the photographic instant.  Washing her subjects in veils of dripping linseed oil, she both “preserves and destroys the image.” Liu has invented a kind of weeping realism that surrenders to the erosion of memory and the passage of time, while also bringing faded photographic images vividly to life as rich, facile paintings. She summons the ghosts of history to the present. In effect, Liu turns old photographs into new paintings.
 
Recently, Liu has shifted her focus from Chinese to American subjects. By training her attention on the displaced individuals and wandering families of the American Dustbowl, Liu finds a landscape of overarching struggle and underlying humanity that for her is familiar terrain, having been raised in China during an era (Mao’s) of epic revolution, tumult, and displacement. The 1930s Oakies and Bindlestiff’s wandering like ghosts through Liu’s new paintings are American peasants on their way to California, the promised land. In these paintings, which have departed from her known fluid style in which drips and washes of linseed oil dissolve the photo-based images the way time erodes memory, she has have developed a kind of topographic realism in which the paint congeals around a webbing of colored lines, together enmeshed in a rich surface that belies the poverty of her subjects. In this, the new paintings are more factually woven to Lange’s photographs while also releasing the energy of color like a radiant of hope from beneath the grey-tones of history.
 
A two-time recipient of a National Endowment for the Arts Fellowship in painting, Liu also received a Lifetime Achievement Award in Printmaking from the Southern Graphics Council International in 2011. A retrospective of Liu’s work, “Summoning Ghosts: The Art and Life of Hung Liu,” was recently organized by the Oakland Museum of California, and is scheduled to tour nationally through 2015.  In a review of that show, the Wall Street Journal called Liu “the greatest Chinese painter in the US.” Liu’s works have been exhibited extensively and collected by the San Francisco Museum of Modern Art, the Whitney Museum of American Art, New York, the Metropolitan Museum of Art, New York, the National Gallery of Art, Washington, D.C., the Asian Art Museum of San Francisco, and the Los Angeles County Museum, among others. Liu currently lives in Oakland, California. She is Professor Emerita at Mills College, where she has taught since 1990. 
 
 
Roberta Restaino:
“I really understood what it was to be Italian when I moved to America. I have experienced the cross cultures through mature eyes that are always seeking answers through logical connections. I became more aware of words and their meanings and witnessed how cultures overlap. It is quite exciting and scary at the same time, but interesting for sure. 
 
The more time I spend outside my familiar environment, the more I recall old memories that I reveal in my work. Rome influences, informs, and translates into my work as textures, layers, patterns, and marks accumulating through history, left by time over time. Underneath Rome and its surroundings, where I grew up, there is an infinite amount of ruins to reveal. It aligns perfectly with my obsession with scientific discovery and a sense of wonder that leads me to my process of making. 
 
In my daily experience, I constantly stop to decipher words and their meanings to express myself in a different language. Inevitably, in every daily conversation, I experience this because I have a trademark that is my accent. Suddenly, when people notice it and tell you, it brings you into a question of belonging. That is the scared part that I mentioned above, wherein these moments, you feel a sense of detachment from both cultures, the one that I am embracing as a foreigner and my own; moments where you do not know where you belong anymore. When I go back to my country, I experience what I call “reverse culture shock” that is a feeling of disconnection with your own environment and people. I think it happens to anyone who lives far away from their own country for a long time. “
 
 
Eriko Tsogo is a Mongolian American cross-disciplinary artist, art management professional, civic engagement project developer, immigrant and women’s rights activist, and DACA recipient born on the steppes of Ulaanbaatar, Mongolia. She is an alumni of Denver School of the Arts, having attained her B.F.A (2012) from the School of the Museum of Fine Arts Boston and Tufts University. She is based in Denver and mindscape Mongolia but lives bi-coastally in the US. Eriko is represented by Tappan Collective agency in Los Angeles. 
 
Eriko has had numerous art shows, curatorial projects and art residencies throughout the United States and Mongolia. She has been the recipient of ACE Foundation scholarship (2008-2012), “Juuh” Honorarium by the Mongolian Ministry of Education Culture and Science (2016), Alliance for Artist Communities Fellowship in affiliation with The Joan Mitchell Foundation (2018), Denver Office of Immigrant and Refugee Affairs Mini Grant (2019), City of Denver Office of Equity Diversity grant (2019), and Understudy Social Art Incubator Residency (2019). 
 
In 2018, she founded the “International Yurt Art Residency Program” an artist-in-residence program focused on facilitating artist exchange in rural Colorado, and between Colorado and Mongolia. Eriko is the creator of the “Dream Yurt”, “Healing Yurt Gender Equity Festival”, and “Sole Patchwork of Life” social justice inspired projects dedicated to promoting kinship across our differences while eradicating social barriers through the power of art, empathy and community. Eriko was a guest speaker at the TEDxMileHigh RESET Adventure “Immigration In America” at Museo De Las Americas in Denver. Her short story was selected by Asian American Filmmakers Lab in New York for the “Immigrants: We Are Them, They Are Us” national project campaign. 
 
 
Danqi Cai was born in Nanchang, China in 1996 and raised in Shenzhen, China. She graduated BFA summa cum laude from the Maryland Institute College of Art (MICA) in 2019, where she double majored in Printmaking & Humanistic Studies and concentrated in Graphic Design and Book Arts.
 
Danqi has shown widely in regional, national and international juried exhibitions. In 2018, she participated in the Salt City Dozen portfolio exchange, won first and third places in the lithography category of New Impressions Printmaking Competition, received Best in Show from Four Rivers Print Biennial, and gave an artist talk at International Print Center New York (IPCNY)’s Multilayered: New Prints 2018/Summer. In 2019, she was awarded a fully-funded residency at Chautauqua School of Art, received a full scholarship to attend Penland School of Crafts, and received the Muskat Studios Prize from The Boston Printmakers 2019 North American Print Biennial. She is currently the 2019–2020 Printmaking Resident at the Kalamazoo Institute of Arts.

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MARCH 2020

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